Noble Nest. "noble nest" Which city is described in the noble nest of Turgenev
Turgenev conceived the novel "Noble Nest" back in 1855. However, the writer felt at that time doubts about the strength of his talent, and the imprint of personal disorder in life was also superimposed. Turgenev resumed work on the novel only in 1858, upon his arrival from Paris. The novel appeared in the January book "Contemporary" for 1859. The author himself later noted that "The Noble Nest" had the greatest success that ever fell to his lot.
Turgenev, who was distinguished by his ability to notice and depict the new, emerging, and in this novel reflected modernity, the main moments of the life of the noble intelligentsia of that time. Lavretsky, Panshin, Liza are not abstract images created by the head route, but living people - representatives of generations of the 40s of the 19th century. In Turgenev's novel, not only poetry, but also a critical orientation. This work of the writer is a denunciation of the autocratic-serf-owning Russia, a waste song to the "noble nests".
The favorite place of action in Turgenev's works is the "noble nests" with the atmosphere of sublime experiences reigning in them. Their fate worries Turgenev and one of his novels, which is called "The Noble's Nest", is imbued with a sense of anxiety for their fate.
This novel is imbued with the consciousness that the "nests of the nobility" are degenerating. Turgenev critically illuminates the noble genealogies of the Lavretskys and Kalitins, seeing in them a chronicle of serf tyranny, a bizarre mixture of "savage lordship" and aristocratic admiration for Western Europe.
Let's consider the ideological content and the system of images of the "Noble Nest". Turgenev placed representatives of the noble class at the center of the novel. The chronological framework of the novel is the 40s. The action begins in 1842, and the epilogue tells about the events that took place 8 years later.
The writer decided to capture that period in the life of Russia, when the best representatives of the noble intelligentsia are growing anxiety for the fate of their own and their people. Turgenev interestingly decided the plot and compositional plan of his work. He shows his characters at the most intense turning points in their lives.
After an eight-year stay abroad, Fyodor Lavretsky returns to his family estate. They experienced a great shock - the betrayal of his wife Varvara Pavlovna. Tired, but not broken by suffering, Fyodor Ivanovich came to the village to improve the life of his peasants. In a neighboring town, in the house of his cousin Marya Dmitrievna Kalitina, he meets her daughter, Liza.
Lavretsky fell in love with her with pure love, Liza reciprocated.
In the novel "A Noble Nest", the author pays great attention to the theme of love, because this feeling helps to highlight everything best qualities heroes, to see the main thing in their characters, to understand their soul. Love is portrayed by Turgenev as the most beautiful, bright and pure feeling that awakens all the best in people. In this novel, like in no other novel by Turgenev, the most touching, romantic, sublime pages are devoted to the love of the heroes.
The love of Lavretsky and Liza Kalitina does not manifest itself immediately, she approaches them gradually, through many reflections and doubts, and then suddenly falls upon them with her irresistible force. Lavretsky, who experienced a lot in his lifetime: hobbies, disappointments, and the loss of all life goals, at first simply admires Liza, her innocence, purity, spontaneity, sincerity - all those qualities that Varvara Pavlovna, hypocritical, depraved Lavretsky's wife, who abandoned him. Liza is close to him in spirit: “It sometimes happens that two people who are already familiar, but not close to each other, suddenly and quickly approach each other within a few moments, - and the consciousness of this closeness is immediately expressed in their looks, in their friendly and quiet smiles, in themselves their movements. This is exactly what happened to Lavretsky and Liza. " They talk a lot and understand that they have a lot in common. Lavretsky takes life seriously, to other people, to Russia, Liza is also a deep and strong girl with her own ideals and beliefs. According to Lemma, Lisa's music teacher, she is "a fair, serious girl with high feelings." Liza is looked after by a young man, a capital official with a wonderful future. Lisa's mother would be happy to give her in marriage to him, she considers it a wonderful party for Lisa. But Liza cannot love him, she feels false in his attitude towards her, Panshin is a superficial person, he appreciates the external brilliance in people, and not the depth of feelings. Further events in the novel confirm this opinion about Panshin.
Only when Lavretsky receives news of the death of his wife in Paris, does he begin to admit the thought of personal happiness.
They were close to happiness, Lavretsky showed Liza a French magazine in which the death of his wife Varvara Pavlovna was reported.
Turgenev, in his favorite manner, does not describe the feelings of a person freed from shame and humiliation, he uses the technique of "secret psychology", depicting the experiences of his characters through movements, gestures, facial expressions. After Lavretsky read the news of his wife's death, he "got dressed, went out into the garden and walked up and down the same alley until morning." After a while, Lavretsky becomes convinced that he loves Lisa. He is not happy with this feeling, since he already experienced it, and it only brought him disappointment. He is trying to find confirmation of the news of his wife's death, he is tormented by uncertainty. And love for Liza is growing: "He did not love like a boy, it was not for him to sigh and languish, and Liza herself did not arouse this kind of feeling; but love for every age has its sufferings - and he experienced them completely." The author conveys the feelings of the heroes through descriptions of nature, which is especially beautiful before their explanation: "Each of them had a heart growing in their chest, and nothing was missing for them: a nightingale sang for them, and the stars burned, and the trees whispered quietly, lulled by sleep, and the bliss of summer, and warmth. " The scene of the declaration of love between Lavretsky and Lisa was written by Turgenev in a surprisingly poetic and touching way, the author finds the simplest and at the same time the most tender words to express the feelings of the heroes. Lavretsky wanders around Liza's house at night, looks at her window, in which a candle is burning: "Lavretsky thought nothing, did not expect anything; he was pleased to feel close to Liza, to sit in her garden on a bench where she had sat more than once ... . "At this time, Liza goes out into the garden, as if sensing that Lavretsky is there:" In a white dress, with braids loose over her shoulders, she quietly walked to the table, bent over it, put a candle and looked for something; then, turning round facing the garden, she approached the open door and, all white, light, slender, stopped at the threshold. "
A declaration of love takes place, after which Lavretsky is overwhelmed with happiness: "Suddenly it seemed to him that some wonderful, triumphant sounds spilled in the air over his head; he stopped: the sounds thundered even more magnificent; they flowed in a melodious, strong stream, - and in them, all his happiness seemed to speak and sing. " This was the music composed by Lemm, and it fully corresponded to Lavretsky's mood: “It has been a long time since Lavretsky had heard anything like it: a sweet, passionate melody from the first sound enveloped the heart; she touched everything that is dear, secret, holy on earth; she breathed immortal sadness and went to die in heaven. " Music foreshadows tragic events in the lives of the heroes: when happiness was already so close, the news of the death of Lavretsky's wife turns out to be false, from France Varvara Pavlovna returns to Lavretsky, since she was left without money.
Lavretsky endures this event stoically, he is submissive to fate, but he worries about what will happen to Liza, because he understands what it is like for her, who fell in love for the first time, to experience such a thing. She is saved from terrible despair by a deep, selfless faith in God. Liza leaves for the monastery, wanting only one thing - that Lavretsky would forgive his wife. Lavretsky forgave, but his life was over, he loved Liza too much to start all over again with his wife. At the end of the novel, Lavretsky, far from an old man, looks like an old man, he also feels like a man who has outlived his age. But the love of the heroes did not end there. This is the feeling that they will carry throughout their lives. The last meeting between Lavretsky and Liza testifies to this. "They say that Lavretsky visited that remote monastery where Liza had disappeared," he saw her. Moving from kliros to kliros, she walked close by him, walked with the even, hastily-humble gait of a nun - and did not look at him; only the eyelashes of the eye turned to him they trembled a little, only she bent her emaciated face even lower - and the fingers of her clenched hands, intertwined with rosary beads, pressed even closer to each other. " She did not forget her love, did not stop loving Lavretsky, and her departure to the monastery confirms this. And Panshin, who so demonstrated his love for Liza, completely fell under the spell of Varvara Pavlovna and became her slave.
A love story in the novel by I.S. Turgenev's "Noble Nest" is very tragic and at the same time beautiful, beautiful because this feeling is not subject to either the time or the circumstances of life, it helps a person rise above the vulgarity and everyday life that surrounds him, this feeling ennobles and makes a person a person.
Fyodor Lavretsky himself was a descendant of the gradually degenerated family of the Lavretsky, once strong, outstanding representatives of this surname - Andrei (Fyodor's great-grandfather), Peter, then Ivan.
The commonality of the first Lavretskys was in ignorance.
Turgenev very accurately shows the change of generations in the Lavretsk family, their connection with - different periods historical development... A cruel and savage tyrant landowner, Lavretsky's great-grandfather ("what the master wanted, so he did, he hung peasants by the ribs ... he did not know the elder over himself"); his grandfather, who once "ruined the whole village," a careless and hospitable "steppe master"; full of hatred for Voltaire and the "fanatic" Diderot, these are typical representatives of the Russian "wild nobility". They are replaced by claims of "Frenchness", now Anglomancy, who have joined the culture, which we see in the images of the frivolous old princess Kubenskaya, who at a very old age married a young Frenchman, and the hero's father Ivan Petrovich. Beginning with a passion for the Declaration of Human Rights and Diderot, he ended with prayer services and a bathhouse. "A free-thinker - began to go to church and order prayers; a European - began to steam and dine at two o'clock, go to bed at nine, fall asleep to the chatter of a butler; a statesman - burned all his plans, all correspondence, trembled in front of the governor and fought in front of the police officer." Such was the history of one of the families of the Russian nobility.
In the papers of Peter Andreevich, the grandson found the only dilapidated book in which he entered either "Celebration in the city of St. Petersburg of the reconciliation concluded with the Turkish Empire by his Excellency Prince Alexander Andreevich Prozorovsky", then a recipe for breast decohta with a note; "this instruction was given to General Praskovya Fyodorovna Saltykova from Protopresbyter of the Church of the Life-Giving Trinity Fyodor Avksentievich", etc .; except for calendars, a dream book and Abmodik's work, the old man had no books. And on this occasion, Turgenev ironically remarked: "It was not his part to read." As if in passing, Turgenev points to the luxury of the eminent nobility. So, the death of Princess Kubenskaya is conveyed in the following colors: the princess "reddened, smothered with ambergris a la Rishelieu, surrounded by arapies, thin-legged dogs and loud parrots, died on a silk crooked sofa from the times of Louis XV, with an enamel snuffbox made by Petito in her hands."
Admiring everything French, Kubenskaya instilled in Ivan Petrovich the same tastes, gave a French upbringing. The writer does not exaggerate the significance of the war of 1812 for the noblemen of the Lavretsky type. They only temporarily "felt that Russian blood was flowing in their veins." "Pyotr Andreevich put on a whole regiment of warriors at his own expense." But only. Fyodor Ivanovich's ancestors, especially his father, loved foreign things more than Russian. The European educated Ivan Petrovich, returning from abroad, introduced a new livery to the courtyard, leaving everything as it was, about which Turgenev writes, not without irony: “Everything remains the same, only the quitrent has increased here and there, but the corvee has become heavier, yes the peasants were forbidden to address directly to the master: the patriot really despised his fellow citizens very much. "
And Ivan Petrovich decided to bring up his son according to the foreign method. And this led to a separation from everything Russian, to a departure from the homeland. "An Anglomaniac played a bad joke with his son." Torn away from his native people from childhood, Fedor lost his support, a real cause. It was no accident that the writer led Ivan Petrovich to an inglorious death: the old man became an unbearable egoist, who, with his whims, prevented everyone around him from living, a pitiful blind man, suspicious. His death was a deliverance for Fyodor Ivanovich. Life suddenly opened before him. At 23, he did not hesitate to sit on a student bench with the firm intention of mastering knowledge in order to apply it in life, to benefit at least the peasants of his villages. Where does Fedor get his isolation and unsociability? These qualities were the result of "Spartan upbringing". Instead of introducing the young man into the thick of life, "they kept him in artificial seclusion," they protected him from the upheavals of life.
The genealogy of the Lavretskys is designed to help the reader trace the gradual departure of the landowners from the people, to explain how Fyodor Ivanovich "dislocated" from life; it is designed to prove that the social death of the nobility is inevitable. The ability to live at someone else's expense leads to the gradual degradation of a person.
An idea of the Kalitin family is also given, where parents do not care about their children, as long as they are fed and dressed.
This whole picture is complemented by the figures of the gossip and jester of the old official Gedeonov, the dashing retired staff captain and the famous player - the father of Panigin, the lover of state money - the retired general Korobyin, the future father-in-law of Lavretsky, etc. a picture very far from the idyllic depiction of "noble nests". He shows a motley Russia, whose people are hitting all the hard from a full course to the west to literally dense vegetation on their estate.
And all the "nests", which for Turgenev were the stronghold of the country, the place where its power was concentrated and developed, are undergoing a process of decay and destruction. Describing the ancestors of Lavretsky through the lips of the people (in the person of the courtyard man Anton), the author shows that the history of the noble nests was washed by the tears of many of their victims.
One of them, Lavretsky's mother, is a simple serf girl who, unfortunately, turned out to be too beautiful, which attracts the attention of the barich, who, having married out of a desire to annoy his father, went to Petersburg, where he was carried away by another. And poor Malasha, unable to bear even the fact that her son was taken away from her for the purpose of education, "without a murmur, died out in a few days."
Fyodor Lavretsky was brought up in conditions of abuse of the human person. He saw how his mother, the former serf Malanya, was in an ambiguous position: on the one hand, she was officially considered the wife of Ivan Petrovich, transferred to half of the owners, on the other hand, they treated her with disdain, especially her sister-in-law Glafira Petrovna. Pyotr Andreevich called Malanya "raw-hammered noblewoman". Fedya himself in childhood felt his special position, the feeling of humiliation oppressed him. Glafira reigned supreme over him, his mother was not allowed to see him. When Fedya was eight years old, his mother died. "The memory of her," writes Turgenev, "of her quiet and pale face, of her sad looks and timid caresses, has forever been imprinted in his heart."
The theme of the "irresponsibility" of the serf peasantry accompanies the entire story of Turgenev about the past of the Lavretsky family. The image of Lavretsky's evil and domineering aunt, Glafira Petrovna, is complemented by the images of a decrepit lackey Anton and old woman Aprakseya who have aged in the lordly service. These images are inseparable from the "noble nests".
In childhood, Fedya had to think about the situation of the people, about serfdom. However, his educators did everything possible to distance him from life. His will was suppressed by Glafira, but "... at times a wild stubbornness found him." Fedya was raised by the father himself. He decided to make him a Spartan. "The system of" Ivan Petrovich "confused the boy, settled confusion in his head, squeezed it." Fedya was presented with exact sciences and "heraldry to maintain knightly feelings." The father wanted to shape the soul of the young man on a foreign model, to instill in him a love for everything English. It was under the influence of such upbringing that Fedor turned out to be a man cut off from life, from the people. The writer emphasizes the richness of the spiritual interests of his hero. Fyodor is a passionate admirer of Mochalov's play ("did not miss a single performance"), he deeply feels the music, the beauty of nature, in a word, everything is aesthetically beautiful. Lavretsky cannot be denied diligence either. He studied very diligently at the university. Even after his marriage, which interrupted his studies for almost two years, Fyodor Ivanovich returned to independent studies. "It was strange to see," writes Turgenev, "his mighty, broad-shouldered figure, always bent over the writing table. He spent every morning at work." And after the betrayal of his wife, Fedor pulled himself together and "could study, work," although skepticism, prepared by the experiences of life and education, finally got into his soul. He became very indifferent to everything. This was the result of his isolation from the people, from his native soil. After all, Varvara Pavlovna tore him not only from his studies, his work, but also from his homeland, forcing him to wander around Western countries and forget about his duty to his peasants, to the people. True, from childhood he was not accustomed to systematic work, so at times he was in a state of inaction.
Lavretsky is very different from the heroes created by Turgenev before the "Noble Nest". They went over to him positive features Rudin (his elevation, romantic aspiration) and Lezhnev (sobriety of views on things, practicality). He has a firm view of his role in life - to improve the life of the peasants, he does not confine himself to the framework of personal interests. Dobrolyubov wrote about Lavretsky: "... the drama of his position is no longer in the struggle with his own impotence, but in the collision with such concepts and morals, with which the struggle should really frighten even an energetic and courageous person." And then the critic noted that the writer "knew how to put Lavretsky in such a way that it is embarrassing to be ironic over him."
With great poetic feeling, Turgenev described the emergence of love in Lavretsky. Realizing that he was deeply in love, Fyodor Ivanovich repeated Mikhalevich's meaningful words:
And I burned everything that I worshiped;
I bowed down to everything that I burned ...
Love for Liza is the moment of his spiritual rebirth, which came upon his return to Russia. Liza is the opposite of Varvara Pavlovna. She could have helped to develop Lavretsky's abilities, she would not have prevented him from being a hard worker. Fyodor Ivanovich himself thought about this: "... she would not distract me from my studies; she herself would inspire me to honest, strict work, and we would both go forward, towards a wonderful goal." In the dispute between Lavretsky and Panshin, his boundless patriotism and faith in the bright future of his people are revealed. Fyodor Ivanovich "stood up for new people, for their beliefs and desires."
Having lost his personal happiness for the second time, Lavretsky decides to fulfill his social duty (as he understands it) - to improve the life of his peasants. "Lavretsky had the right to be content," writes Turgenev. However, it was half, it did not fill his whole life. Arriving at the Kalitins' house, he thinks about the "business" of his life and admits that it was useless.
The writer condemns Lavretsky for the sad outcome of his life. With all your pretty ones positive qualities the protagonist of the "Noble Nest" did not find his calling, did not benefit his people and did not even achieve personal happiness.
At the age of 45, Lavretsky feels old, incapable of spiritual activity, the "nest" of the Lavretskys has virtually ceased to exist.
In the epilogue of the novel, the hero appears older. Lavretsky is not ashamed of the past, he does not expect anything from the future. "Hello, lonely old age! Burn out, useless life!" he says.
"Nest" is a house, a symbol of the family, where the link between generations is not interrupted. In the novel Noble Nest "this connection is broken, which symbolizes the destruction, withering away of the family estates under the influence of serfdom. The result of this we can see, for example, in the poem" Forgotten Village "by NA Nekrasov. Turgenev serf publication of the novel
But Turgenev hopes that all is not lost, and in the novel, saying goodbye to the past, turns to a new generation in which he sees the future of Russia.
The plot of the novel
The main character of the novel is Fyodor Ivanovich Lavretsky, a nobleman who has many of the features of Turgenev himself. Raised far from his father's home, the son of an Anglophile father and a mother who died in his early childhood, Lavretsky is brought up on a family country estate by a cruel aunt. Often, critics looked for the basis for this part of the plot in the childhood of Ivan Sergeevich Turgenev himself, who was raised by his mother, known for her cruelty.
Lavretsky continues his education in Moscow, and while visiting the opera, he notices a beautiful girl in one of the boxes. Her name is Varvara Pavlovna, and now Fyodor Lavretsky declares his love to her and asks for her hand in marriage. The couple marries and the newlyweds move to Paris. There, Varvara Pavlovna becomes a very popular keeper of the salon, and starts an affair with one of her regular guests. Lavretsky learns about his wife's romance with another only at the moment when he accidentally reads a note written from his lover to Varvara Pavlovna. Shocked by the betrayal of a loved one, he breaks off all contacts with her and returns to his family estate, where he was raised.
Upon returning home to Russia, Lavretsky visits his cousin, Maria Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky immediately becomes interested in Liza, whose serious nature and sincere dedication to the Orthodox faith give her great moral superiority, strikingly different from the flirtatious behavior of Varvara Pavlovna, to which Lavretsky is so accustomed. Gradually, Lavretsky realizes that he is deeply in love with Lisa, and when he reads a message in a foreign magazine that Varvara Pavlovna has died, he declares his love to Lisa and learns that his feelings are not unrequited - Lisa also loves him.
Unfortunately, the cruel irony of fate prevents Lavretsky and Liza from being together. After a declaration of love, the happy Lavretsky returns home ... to find there alive and unharmed Varvara Pavlovna, waiting for him in the foyer. As it turns out, the advertisement in the magazine was given by mistake, and Varvara Pavlovna's salon is going out of fashion, and now Varvara needs the money she demands from Lavretsky.
Learning about the sudden appearance of the living Varvara Pavlovna, Liza decides to go to a remote monastery and lives the rest of her days in monasticism. Lavretsky visits her in the monastery, seeing her in those short moments when she appears for moments between services. The novel ends with an epilogue, which takes place eight years later, from which it also becomes known that Lavretsky is returning to Lisa's house. There, after the past years, despite many changes in the house, he sees a piano and a garden in front of the house, which he remembered so much because of his communication with Lisa. Lavretsky lives by his memories, and sees a certain meaning and even beauty in his personal tragedy.
Plagiarism charge
This novel was the reason for a serious disagreement between Turgenev and Goncharov. D.V. Grigorovich, among other contemporaries, recalls:
Once - it seems, with the Maikovs - he told [Goncharov] the content of a new supposed novel, in which the heroine had to retire to a monastery; many years later Turgenev's novel "Noble Nest" was published; the main female face in him was also removed to the monastery. Goncharov raised a whole storm and directly accused Turgenev of plagiarism, of appropriating someone else's thought, suggesting, probably, that this thought, precious in its novelty, could only appear to him, and Turgenev would not have enough talent and imagination to reach it. The case took such a turn that it was necessary to appoint an arbitration tribunal composed of Nikitenko, Annenkov and a third person - I don't remember who. None of this, of course, came of it, except laughter; but since then Goncharov stopped not only seeing, but also bowing to Turgenev.
Screen adaptations
"Noble Nest" in Wikiquote | |
in Wikisource |
The novel was filmed in 1914 by V.R. Gardin and in 1969 by Andrei Konchalovsky. In the Soviet tape, the main roles were played by Leonid Kulagin and Irina Kupchenko. See The Noble's Nest (film).
Notes (edit)
Ivan Sergeevich Turgenev | |
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Novels | |
Stories and stories |
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Dramaturgy |
Lack of money Where it is thin, there it breaks Freeloader Breakfast at the leader's Bachelor A month in the village Provincial |
Other |
Poems in prose Literary and everyday memories |
Characters (edit) | |
Related articles |
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See what a "Noble Nest" is in other dictionaries:
Noble Nest- (Smolensk, Russia) Hotel category: 3 star hotel Address: Microdistrict Yuzhny 40 ... Hotel catalog
Noble Nest- (Korolev, Russia) Hotel category: 3 star hotel Address: Bolshevskoe shosse 35, K.
DOVORYAN'S NEST, USSR, Mosfilm, 1969, color, 111 min. Melodrama. Based on the novel of the same name by I.S. Turgenev. Film A. Mikhalkov Konchalovsky dispute with the prevailing in the modern socio-cultural consciousness of the genre scheme of "Turgenev's novel". ... ... Encyclopedia of Cinema
Noble Nest- Outdated. About a noble family, a manor. The noble nest of the Parnachevs belonged to the endangered ( Mamin Sibiryak... Mother is a stepmother). A sufficient number of noble nests were scattered in all directions from our estate (Saltykov Shchedrin. Poshekhonskaya ... ... Phraseological dictionary of the Russian literary language
NOBLE NEST- Roman I.S. Turgenev *. Written in 1858, published in 1859 The main character the novel, a rich landowner (see nobleman *) Fyodor Ivanovich Lavretsky. The main one is connected with his fate. story line... Disappointed in marriage with the secular beauty Varvara ... ... Linguistic and Cultural Dictionary
NOBLE NEST- for many years the only elite house in all of Odessa, located in the most prestigious area of the city to this day, on French Boulevard. Separated by a fence, with a line of garages, a house with huge independent apartments, front doors ... Big semi-explanatory dictionary of the Odessa language
1. Spread. Outdated. About a noble family, a manor. F 1, 113; Mokienko 1990.16. 2. Zharg. shk. Shuttle. Teacher's room. Nikitina 1996, 39. 3. Zharg. sea. Shuttle. iron. The front superstructure on the ship, where the command personnel live. БСРЖ, 129. 4. Zharg. pier Elite housing (house ... A large dictionary of Russian sayings
"NOBLE NEST" (S. A. Malakhov)
On the title page of the manuscript of the novel "A Noble Nest", stored in Paris, Turgenev made a note according to which the novel was conceived at the beginning of 1856, began writing in the summer of 1858 and finished on October 27, 1858 in Spassky.
This record testifies that the idea of the novel, which arose after the end of Rudin (in July 1855), was developed by the novelist over the next two years, but was creatively carried out by the writer, as well as the idea of Rudin, during the whole only a few months.
The hero of The Noble Nest has autobiographical features. But he is not a self-portrait of a novelist. Turgenev introduced into the biography of Lavretsky the features of many of his contemporaries. It is known what fateful role played in the subsequent fate of Fyodor Lavretsky that "Spartan" upbringing that his father gave him and how little Ivan Petrovich himself observed the "Spartan" way of life. In the midst of work on his second novel, Turgenev, in a letter dated July 7 (June 25), 1858, tells Pauline Viardot about the upbringing that Leo Tolstoy's son-in-law gave his children: “He applied a system of harsh treatment to them; he took pleasure in educating them in a Spartan way, himself leading a completely opposite way of life ”(Letters, III, 418).
The Czech literary critic G. Doks in his article "Ogarev and Turgenev (Ogarev as a prototype of Lavretsky)" provides convincing evidence in favor of the fact that the prototypes of Fyodor Lavretsky, Varvara Pavlovna and Lisa were largely based on N.P. Ogarev and people close to him. Turgenev in "Noble Nest", as well as in "Rudin", created such characters and types, none of which can be completely reduced to any real person from among the writer's contemporaries, but in which there are features of many of his time.
Historical contemporaneity in the novel "Noble Nest" is comprehended in connection with the earlier stages of Russian life that prepared it. The once well-born noble family of the Pestovs (“three Pestovs appear in the synodikon of Ivan Vasilyevich the Terrible”; II, 196) by the 40s of the 19th century, when the action of the “Noble Nest” begins, almost completely ruined, retaining only the marginal estate Pokrovskoye, which forced the owner to "move to St. Petersburg for the service" (141). The novel does not say directly what state Kalitin possessed before marrying Marya Dmitrievna and how he made up during his lifetime "a very good ... acquired" state by him (142), which went to his widow. But from the biography of Liza, set forth by the novelist in Chapter XXXV, we learn that Kalitin "compared himself to a horse harnessed to a threshing machine" (252). It is unlikely, therefore, that Kalitin belonged to a wealthy noble family, if the fortune left by him was "acquired" at such a price.
Fyodor Lavretsky's eighty-year-old butler, Anton, epically unhurriedly tells the master about his ancestors: “And he lived, your blessed great-grandfather in memory, in a small wooden mansion; and what good he left behind, what silver, all kinds of supplies, all the cellars were chock-full ... But your grandfather, Pyotr Andreevich, set up stone chambers for himself, but he didn’t make any good; everything went to waste with them; and they lived worse than papa's, and did not produce any pleasures for themselves, - but decided everything, and there is nothing to remember him, there was no silver spoon left of them, and then, thank you, Glafira Petrovna was pleased ”(206–207).
Having sketched a broad picture of contemporary local life, touching on its past and present, Turgenev captured in the novel many features from the life of a serf village. With deep artistic expression the author of The Noble Nest told about the fate of two serfs. Seduced by the young son of her landowner, the mother of Fyodor Lavretsky, thanks to the clash of two vanities, becomes the legal wife of her seducer, who married her in order to "take revenge on his father." The fate of this "raw-hammered noblewoman" (171), as Lavretsky's father ironically calls his unlucky daughter-in-law, is tragic. She dutifully endures separation from her husband living abroad, humbly endures the "involuntary neglect" (172) of her father-in-law, who has fallen in love with her, and the deliberate reproaches from her husband's aunt, Glafira Petrovna. But when her son is taken away from her in order to entrust his upbringing to Glafira, the unfortunate mother, despite all her raised as a serf way of life obedience, cannot bear the blow, dies as "unrequited" as she lived. In terms of the strength of the anti-serfdom protest, with which the image of the "unrequited" Malanya Sergeevna is saturated, the op is not inferior to many characters in the "Notes of a Hunter".
In a different, but no less dramatically expressive way, the fate of another serf girl, Agafya Vlasyevna, was mentioned in the novel by the author of The Noble Nest, telling the reader about Liza's biography. After sixteen years of marriage and soon becoming a widow, she becomes the beloved of her landowner; betrayed by the lady after his death as a cattleman, drunkard and thief, she falls into disgrace through the fault of her husband and becomes, as a result of all the ordeals she endured, “very silent and silent” (254). The story of these two women's lives, mutilated and ruined by the masters, embodies in the novel the martyrdom of the Russian serf slave.
Other episodic peasant figures in the novel are also expressive. Such is the "lean peasant" who, having passed on a lordly order to Malanya Sergeevna, kisses his former godmother, like a "new mistress," a hand in order to immediately "run home", having covered a ruble sixty versts on foot in one day (169). Fluently but vividly outlined by Turgenev is the eighty-year-old courtyard Anton, telling Fyodor Lavretsky with trepidation about his domineering great-grandfather and listening with delight to his mistress Kalitina at the table, just as he would not be able, in his opinion, to serve some "hired valet" (220).
The image of a man who has lost his son rises to a large, symbolic generalization. Characteristic is the deep inner restraint of his grief, and the instinctive gesture of self-defense with which the peasant "fearfully and severely" recoils from the master who has pityed him, apparently not trusting either the lordly sincerity or the lordly compassion for the peasant (294).
The events described in the "Noble nest" are dated by the author, as in "Rudin", to the 30-40s (Lavretsky, born on August 20, 1807, married Varvara Pavlovna in 1833 and separated from his wife, after her betrayal , in 1836, and the hero's romance with Liza is played out in May - June 1842; even in the epilogue of The Noble Nest, the action takes place only two years later than in the epilogue of Rudin: Rudin dies on the barricade in 1848, and Lavretsky appears in last time on the pages of a book in 1850). However, Turgenev wrote his second novel in the late 1950s, on the eve of the peasant reform. The pre-reform socio-economic and political situation put its stamp on the entire content of the "Noble Nest", determined historical meaning novel for contemporary Russian public life.
With his novel, Turgenev tried to answer the question of what a modern educated Russian person should do. According to Mikhalevich, “everyone should know this himself” (218). The main personalities of the novel, each in their own way, solve this painful and difficult question for them. Mikhalevich, having parted with Lavretsky, answers him like this: “Remember my last three words,” he shouted, leaning his body out of the tarantass and standing on the balance sheet, “religion, progress, humanity !. Goodbye!" (220).
Inspirational servant of "progress and humanity", orator, idealist and romantic Mikhalevich, like Rudin, cannot find the application of his abilities to real practical work; he is as poor, a loser and an eternal wanderer as Rudin. Mikhalevich even outwardly resembles an immortal "knight of a sad image" with whom Rudin compared himself: air, as if scattering the seeds of future prosperity ”(220). Mikhalevich, like Rudin, devoted his life to the struggle for personal well-being, but to the joy of "the fate of mankind." But the objective fault of both lies, according to Turgenev, in the fact that there is practically nothing they can do to help bring about the "future welfare" of the human masses.
Varvara Pavlovna is a naive, outspoken selfish woman who has no moral ideals. And Turgenev condemns her as unconditionally as he condemned in the novel the epicurean egoism of Gedeonovsky and Marya Dmitrievna Kalitina. Panshin, in words, cares a lot "about the future of Russia", but in reality he only thinks about his own bureaucratic career, without doubting that "in time he will become a minister" (150). His entire liberal program is limited to a stereotyped phrase: “Russia ... has lagged behind Europe; we need to adjust it ... we must inevitably borrow from others. " Panshin, as befits a convinced official, considers the implementation of such a program to be purely administrative: “... this is our business, the business of the people ... (he almost said: civil servants)” (214, 215).
The relationship between the heroine of The Noble's Nest, Liza Kalitina, and her parents in many respects repeat the biography of Natalia: “She is past her tenth year when her father died; but he did little to study her ... Marya Dmitrievna, in fact, was not much more concerned with Liza than her husband ... She was afraid of her father; her feeling for her mother was vague - she was not afraid of her and not. caressed her ... ”(252, 255). Liza's attitude to her governess, "the girl of Moreau from Paris", is reminiscent of Natalia's attitude to m? Ile Boncourt ("She had little influence on Lisa"; 252, 253). Liza, like the other two heroines of Turgenev's novels of the 1950s, is distinguished first of all by the independence of her inner spiritual life. “She didn't think often, but almost always for good reason; after a pause for a while, she usually ended up asking someone older with a question showing that her head was working on a new impression ”(254).
However, unlike Natalya, Liza in her serf nanny Agafya Vlasyevna found a person who had the influence on her that determined her later life destiny, those features of her character and beliefs that make her so sharply different from other Turgenev heroines. The extraordinary beauty of Agafya Vlasyevna twice raised her high from the living conditions usual for other serf women. At first, for five years she was the "lordly lady" of her landowner Dmitry Pestov, then, three years after his death, for five years she was the favorite of his widow. At this time, she led a "blissful life": "... except for silk and velvet, she did not want to wear anything, she slept * on feather beds." And twice such a life was cut short by an unexpected and terrible catastrophe for Agafya Vlasyevna. The first time the lady "passed her off as a cattleman and banished her out of sight"; second time. she was “demoted from housekeeper to seamstress and ordered to wear a scarf on her head instead of a cap,” which was, of course, terribly humiliating for the previously all-powerful lordly mistress. Seeing in these two catastrophes of her life "the finger of God" that punished her for pride, "to the surprise of all, Agafya with humble humility took the blow that struck her" (253, 254).
Under the influence of Agafya Vlasyevna and Liza, she became a convinced supporter of the ideas of Christian humility. Therefore, in her first intimate conversation with Lavretsky, Liza tries to reconcile Fedor with his wife, for. "How can you separate what God has connected?" (212). Liza's religious fatalism is especially expressive when, in a conversation with Lavretsky, she says: “It seems to me, Fyodor Ivanovich, ... happiness on earth does not depend on us” (235).
However, after the news of the imaginary death of Varvara Pavlovna, when nothing stood between her and Lavretsky anymore, Liza, in the struggle for her "love, shows such strength of character that she will not yield to either Natalya Lasunskaya or Elena Stakhova:" ... she knew that she loved - and fell in love honestly, not jokingly, became attached tightly, for life - and was not afraid of threats; she felt that she could not forcibly break this bond ”(267).
With tremendous strength and great psychological truth, Turgenev reveals the dramatic clash of religious duty and natural human feelings in the soul of his heroine. Liza comes out of the fight with herself mortally wounded, but does not betray her inherent beliefs about moral duty. She does everything to reconcile Lavretsky with his unexpectedly "resurrected" wife.
The image of Lisa in many ways resembles the image of Pushkin's Tatyana. This is the most charming and at the same time the most tragic of female images Turgenev. Like Pushkin's Tatyana, Liza in intelligence and moral aspirations is significantly higher not only her mother, but also the entire environment around her. However, the absence in this environment of other spiritual interests that could satisfy her contributed to the fact that inner life Liza acquired from early years ascetic, religious coloring. Finding no other way out for her aspirations, Liza put all her extraordinary spiritual energy into her religious and moral searches. Deep seriousness and concentration, exactingness towards herself and others, fanatical devotion to duty that distinguish Liza, anticipate the features of the heroine of Turgenev's poem in prose "The Threshold", real features psychological makeup of many advanced Russian women of the 60s – 80s. But, unlike the later Turgenev heroines, Liza in her understanding of duty turns out to be tragically constrained by obsolescent religious ideas hostile to the needs and happiness of a living person. Hence her deep tragedy in life: conquering her passion, sacrificing herself for the sake of her high understanding of duty, Liza at the same time cannot abandon the instincts of her heart without deep pain. Like Lavretsky, she remains tragically broken in the epilogue of the novel. Liza's departure to the monastery cannot give her happiness, the monastery life remains the last, most tragic page in the life of this Turgenev heroine, as if standing at the crossroads of two eras in the history of mental and moral life the leading Russian woman of the XIX century.
Liza's tragic guilt lies in the fact that, unlike Elena, she does not serve the cause of the liberation and happiness of people, but the “salvation” of her own Christian “soul”. Turgenev justifies his heroine by the objective conditions of her religious upbringing, but does not remove from her the “guilt” which she atones for in the novel only at the cost of her ruined life. The conflict between a person's desire to achieve his personal happiness and his moral duty in relation to his people, Turgenev, laid the foundation of the tragedy and his protagonist. "Neither pava, nor crow" is a landowner in his social position, a "real man", as Glafira Petrovna and Marya Dmitrievna Kalitina put it (177, 194 =), - Lavretsky, having entered a life in which he did not know, with character , which the circumstances raised in him, inevitably had to become a tragic victim of the latter.
None of Turgenev's novels evoked such a unanimous and generally positive assessment on the part of progressive Russian writers and advanced critical thought, which evoked after the publication in Sovremennik (1859) of The Noble Nest.
N. A. Dobrolyubov, two years after the publication of "Noble Nest", wrote about Turgenev in the article "When the real one will come day? ”:“ He knew how to put Lavretsky in such a way that it would be awkward to be ironic over him, although he belongs to the same kind of idle types that we look at with a grin. The drama of his position is no longer in the struggle with his own powerlessness, but in the collision with such concepts and morals, with which the struggle should really frighten even an energetic and courageous person. "
Lavretsky's "great suffering" did not break him, did not make him an embittered pessimist or a bilious cynic like Pigasov. Turgenev showed this in the epilogue of the novel, conveying the thoughts of the hero after his last meeting with the young generation of the Kalitins and their young friends. “Play, have fun, grow up, young forces,” he thought, and there was no bitterness in his thoughts, “life is ahead of you, and it will be easier for you to live: you don’t have to find your way, like us, to fight, fall and get up in the midst of darkness; we fussed about how to survive - and how many of us did not survive! - and you need to do business, work, and the blessing of our brother, the old man, will be with you ”(306).
Slowed down thanks to numerous inserted episodes and digressions, more epically unhurried than in Rudin, the course of the narrative of The Noble Nest is in harmony with the characters of the characters and the circumstances in which they are placed.
The off-plot elements in The Noble Nest are more complex and diverse than in Rudin. Chapter I of the novel contains the biography of Kalitin and the history of three representatives of the noble family of the Pestovs, chapter IV - the biography of Panshin, chapter U - Lemma. As many as nine chapters (VIII? XVI) are devoted to the history of the Lavretsky family and the story of the unsuccessful marriage of its last representative; Chapter XXXV reports the biographies of Agafya Vlasyevna and Liza. Such a compositional construction helped the author to reproduce the socio-historical situation more broadly than in "Rudin", to give more concrete images of the main characters of the novel.
For all the structural differences between the first two novels by Turgenev, they have much in common. Both in "Rudin" and in the "Noble nest" tragic fate the protagonist is determined not so much as a result of clashes with his ideological opponents - antipodes (Pigasov, Panshin), but as a result of the outcome of his relationship with the heroine. The most social value of both heroes is believed by the author, first of all, by their behavior in front of the woman he loves.
Specific traits minor characters consist in the fact that they are not subject to development, but throughout the entire course of the novel they remain invariably true to themselves.
The sentimental character of a wealthy Russian provincial noblewoman is already revealed in the first scene of The Noble Nest Marya Dmitrievna Kalitina in a conversation with Martha Timofeevna:
“- What are you talking about? she suddenly asked Marya Dmitrievna. - What are you sighing for, my mother?
“- So, - she said, - What wonderful clouds!
"- So you feel sorry for them, or what?" (143).
And Marya Dmitrievna maintains this character of hers throughout the novel. Favorable to Gedeonovsky for his vulgar compliments, and to Panshin for his “secular” courtesy, Marya Dmitrievna contemptuously speaks of Lavretsky: “What a seal, man! Well, now I understand why his wife could not remain faithful to him ”(194). But when the same Lavretsky, seeking the Kalitins to come to Vasilievskoye, "kissed both her hands," Marya Dmitrievna, "sensitive to affection" and "not at all expecting such a courtesy from the" seal ", was moved by her soul and agreed" (213). Helping Varvara Pavlovna to arrange her reconciliation with her husband, Marya Dmitrievna almost ruined things, trying at all costs melodramatically - a sentimental scene of the forgiveness of the "repentant sinner", and remained dissatisfied with Lavretsky's "insensitivity".
The compositional grouping of supporting characters in the "Noble Nest", as in "Rudin", is subordinated, by the author, to the function of multilateral disclosure of the character of the protagonist. It is noteworthy that Lavretsky's ill-wishers are the lady Kalitina, the priest Gedeonovsky, the careerist Panshin, and the poor Mikhalevich, the loser Lemm, the simple courtyard people Anton and Apraksey, are friends or well-wishers. It is no coincidence that Lavretsky himself realizes the insignificance of his personal sufferings as a result of comparing them with the grief of a peasant who has lost his son, with the difficult fate of his mother, a peasant serf. DI Pisarev subtly noticed the connection between Turgenev's hero and the people, noting in his review of The Noble's Nest: “On the personality of Lavretsky lies a clearly marked stamp of nationality”.
The deep stream of the spiritual life of Turgenev's heroes, inexhaustible in all its inner wealth, as in Rudin, receives a diverse external expression in the characteristic external details that are extremely economically and subtly chosen by the author.
Lisa's tears tell the reader about the state of her soul in the same understandable language as Natalia's tears. And at the same time, their tears reveal the difference in the character of these two Turgenev heroines. Natalya cries only at the moment of maturation of her love for Rudin, which she has not yet realized. When, in response to his confession, she says with firm determination to her chosen one: "Know that ... I will be yours" (82), her eyes are dry. And Liza responds to Lavretsky's confession with tears: having heard her “quiet sobs,” he “understood what those tears meant” (249–250).
They tell the reader no less clearly about the state of Turgenev's heroine and Liza's hand. After the deadly dispute between Lavretsky and Panshin, Lavretsky confesses his love to Lisa. “She wanted to get up,” writes Turgenev, “she could not and covered her face with her hands ... Her shoulders began to tremble slightly, and the fingers of her pale hands pressed closer to her face” (249). Later, meeting with Lavretsky, who had come to say goodbye to her forever, "Liza leaned against the back of the chair and quietly raised her hands to her face ...". “No,” she said and pulled back her already outstretched hand, “no, Lavretsky (she called him that for the first time), I won't give you my hand” (287). For the last time in the novel, Liza's hands appear in the epilogue when Lavretsky meets her in the monastery, and she, passing by him, “did not look at him; only the eyelashes of the eye turned to him trembled slightly, only she tilted her emaciated face even lower - and the fingers of her clenched hands, entwined with rosary beads, pressed closer to each other ”(307).
Lavretsky's novel with Liza opens with the landscape of a "spring, bright day" (141). In this landscape, there is also a "light", in Pushkin's way, sorrow "- the result of Lavretsky's past disappointments - and one can already hear the overture to his second unhappy love. On the way to Vasilievskoe, the nightingale song returns Lavretsky's thoughts to Liza; Lisa's purity evokes in the hero an association with pure stars that light up in the sky above his head. Fyodor's new meeting with Liza, who has arrived from the city to Vasilievskoye, takes place against the background of still water and the "reddish ... reeds" quietly standing around, when nature itself, having fallen silent, seems to listen to the "quiet" conversation of the heroes (222). The night landscape in the scene of Lavretsky's return after Lisa's farewell is saturated with a growing major sound of pleasure and joy, foreshadowing the radiant birth of love (226), which will find its apotheosis under the "mighty, audaciously ringing song of the nightingale" (246).
Turgenev contrasts in "Noble Gcezda" not only the spontaneous gravitation towards the people, the moral purity of Lavretsky and Liza - the immorality of Panshin and Varvara Pavlovna, but also the pure aesthetic taste of Liza ("She can love one beautiful thing"; 211) and Fyodor ("he ... passionately he loved music, efficient, classical music "; 207) - chansonnet and poldecko aesthetics, their antipodes.
Against the background of the salon music of Panshin and Varvara Pavlovna, a painful denouement of their ruined love takes place for the heroes, and the night melody Lemma remains forever in Lavretsky's soul, the hero of the novel recalls it with feeling in the epilogue, again visiting the walls of the Kalitinsky house.
Poems, music, nature not only help the novelist in characterizing the characters, but also play an important role in the very development of the plot. Words for the romance he conceived, dedicated to Lisa, which Lemme is trying to improvise: "... you stars, oh you pure stars!" - evoke in Lavretsky's mind the image of this "pure girl" (209, 210). Lavretsky will soon repeat the poems read during a hot night conversation with Mikhalevich, associating their meaning with his disappointment in love for Varvara Pavlovna and with the birth of a new feeling for Liza (215, 226):
And I burned everything I worshiped
Bowed down to everything that he burned.
The atmosphere of "light poetry, poured in every sound of this novel" is generated not only by the landscape, music and poetry, but also by lyrical digressions, and the author's remarks of the novelist, organically connected either with the characters of the characters, or with the development of the plot, or with the general idea of the work.
The agitated lyricism of Turgenev's rhythmic prose acquires its musical sound thanks to the poetic organization of the syntactic structure. Thus, Turgenev used the technique of poetic repetition where the novelist paints a landscape against which Liza and Lavretsky catch fish in his pond: “Tall reddish reeds rustled quietly around them, motionless water was quietly shining ahead, and their conversation was quiet” (222 ). The musical sound and rhythmic structure of phrases are often emphasized by the interrogative or exclamatory intonation of the author's speech ("What did they think, what did both of them feel? Who will know? Who will say? There are such moments in life, such feelings"; 307), syntactic parallelisms, anaphores, etc. ...
The syntax of Turgenev's prose is especially delicately organized in the scene when, after a painful meeting for the heroine with Varvara Pavlovna, Marfa Timofeevna, taking Lisa to her room, expresses a feeling of silent compassion for the heavy grief of her beloved niece. This scene is put by the author in the framework of a large complex sentence, rhythmically developing in the sequence of a single syntactic movement: "Liza ... wept"; “Marfa Timofeevna could not kiss these… hands”; "Tears flowed"; "The cat Sailor purred"; "The flame of the lamp ... was stirring"; "Nastasya Karpovna ... wiped her eyes" (274). Many of the simple sentences that make up this difficult period are linked by elements of syntactic parallelism: “Liza leaned forward, blushed, and burst into tears”; "The flame of the lamp moved and moved slightly"; "Nastasya Karpovna stood and ... wiped her eyes" (274). The system of sound repetitions enhances the rhythmic character of Turgenev's prose (“I could not kiss these poor, pale, powerless hands - and silent tears poured from her eyes and from Liza's eyes”; 274).
Turgenev parted with the past in the novels of the 50s of sorrow. The novelist sadly saw off the idealism of the progressive people of the 1930s – 1940s and the romance of Russian “noble nests” to the grave. This determined the tragic pathos, the lyrical atmosphere of Turgenev's first novels. But Rudin leaves the stage, having fertilized the young shoots of a new life with his educational propaganda, and Lavretsky - welcoming with deep faith the bright future of Russia, its "young, unfamiliar tribe." And this gives the drama of the first Turgenev novels, despite all their tragedy, optimistic sound.
With death and suffering, the heroes of Turgenev atone for their tragic guilt before the people, whom both Rudin and Lavretsky wanted, but did not know how to serve. And their personal suffering pales against the background of the immense suffering that a serf or a peasant woman endures. No matter how little place peasant images occupy in Turgenev's novels, their presence lends a particularly acute social sound to these novels. Turgenev's heroes are unhappy, but they rise above their personal grief, talking about themselves, as Lavretsky does: “Look around, who is blissful around you, who is enjoying? There is a man going mowing; maybe he is content with his lot ”(281).
"Noble nest" The next novel about the "Nikolaev" era "Noble nest" is devoted to the time when the Westernizing picture of the world in the minds of a fairly large part of the Russian intelligentsia, and Turgenev is no exception, began, if not ousted, then in some
From the book History of the Russian Novel. Volume 2 the authorCHAPTER V. LAST NOVELS OF TURGENEV AND GONCHAROV (S. A. Malakhov, N. I.
From the book History of the Russian Novel. Volume 1 the author Philology The team of authors -"RUDIN" (G. M Friedlander - § 1; SA Malakhov - §§ 2-5) 1 Pushkin, Lermontov and Gogol were the founders of the Russian realistic novel of the 19th century. Their artistic discoveries created the necessary prerequisites for creative development later novelists. In the same time
From the book On literary trails the author Shmakov Alexander Andreevich From the book Essays on the History of English Poetry. Renaissance poets. [Volume 1] the author Kruzhkov Grigory Mikhailovich From the author's book"English Petrarch", or Phoenix's Nest (About Philip
The main character of the novel is Fyodor Ivanovich Lavretsky, a nobleman who has many of the features of Turgenev himself. Raised far from his father's home, the son of an Anglophile father and a mother who died in his early childhood, Lavretsky is brought up on a family country estate by a cruel aunt. Often, critics looked for the basis for this part of the plot in the childhood of Ivan Sergeevich Turgenev himself, who was raised by his mother, known for her cruelty.
Lavretsky continues his education in Moscow, and while visiting the opera, he notices a beautiful girl in one of the boxes. Her name is Varvara Pavlovna, and now Fyodor Lavretsky declares his love to her and asks for her hand in marriage. The couple marries and the newlyweds move to Paris. There Varvara Pavlovna becomes a very popular keeper of the salon and starts an affair with one of her regular guests. Lavretsky learns about his wife's romance with another only at the moment when he accidentally reads a note written from his lover to Varvara Pavlovna. Shocked by the betrayal of a loved one, he breaks off all contacts with her and returns to his family estate, where he was raised.
Upon returning home to Russia, Lavretsky visits his cousin, Maria Dmitrievna Kalitina, who lives with her two daughters, Liza and Lenochka. Lavretsky immediately becomes interested in Liza, whose serious nature and sincere dedication to the Orthodox faith give her great moral superiority, strikingly different from the flirtatious behavior of Varvara Pavlovna, to which Lavretsky is so accustomed. Gradually, Lavretsky realizes that he is deeply in love with Lisa and, having read a message in a foreign magazine that Varvara Pavlovna has died, declares his love to Lisa. He learns that his feelings are not unrequited - Lisa also loves him.
Learning about the sudden appearance of the living Varvara Pavlovna, Liza decides to go to a remote monastery and lives the rest of her days in monasticism. The novel ends with an epilogue, which takes place eight years later, from which it also becomes known that Lavretsky is returning to Lisa's house, in which her grown-up sister Elena has settled. There, after the past years, despite many changes in the house, he sees the living room, where he often met his girlfriend, sees the piano and the garden in front of the house, which he remembered so much because of his communication with Lisa. Lavretsky lives with his memories and sees a certain meaning and even beauty in his personal tragedy. After his thoughts, the hero leaves back to his home.
Later, Lavretsky visits Liza in the monastery, seeing her in those short moments when she appears for moments between services.
Many wonderful works were written by the famous Russian writer I. S. Turgenev, "The Noble Nest" is one of the best.
In the novel "Noble Nest" Turgenev describes the customs and customs of the life of the Russian nobility, their interests and hobbies.
The main character of the work - the nobleman Lavretsky Fyodor Ivanovich - was brought up in the family of his aunt Glafira. Fedor's mother, a former maid, died when the boy was very young. My father lived abroad. When Fyodor was twelve years old, the father returns home and himself is engaged in raising his son.
Novel "Noble Nest", summary the works give us the opportunity to find out what kind of home education and upbringing children received in noble families. Fedor was taught many sciences. His upbringing was harsh: early in the morning he was woken up, fed once a day, taught to ride a horse and shoot. When his father died, Lavretsky went to study in Moscow. He was then 23 years old.
The novel "Noble Nest", a summary of this work will allow us to learn about the hobbies and passions of the young noblemen of Russia. During one of his visits to the theater, Fedor saw in the box beautiful girl- Varvara Pavlovna Korobyin. A friend introduces him to the beauty's family. Varenka was smart, sweet, educated.
Studying at the university was abandoned due to Fedor's marriage to Varvara. The young spouses move to St. Petersburg. There their son is born and soon dies. On the advice of a doctor, the Lavretskys went to live in Paris. Soon, the enterprising Varvara becomes the owner of a popular salon and has an affair with one of her visitors. Learning about accidentally reading the love note of her chosen one, Lavretsky breaks off all relations with her and returns to his estate.
Once he visited his cousin, Kalitina Maria Dmitrievna, who lives with her two daughters, Liza and Lena. The eldest - pious Liza - interested Fyodor, and soon he realized that his feelings for this girl were serious. Liza had an admirer, a certain Panshin, whom she did not love, but on the advice of her mother did not repulse.
In one of the French magazines, Lavretsky read that his wife had died. Fedor declares his love to Lisa and finds out that his love is mutual.
Happily young man there were no boundaries. Finally, he met the girl of his dreams: gentle, charming and also serious. But when he returned home, Barbara, alive and well, was waiting for him in the foyer. She tearfully begged her husband to forgive her at least for the sake of their daughter Ada. Scandalously famous in Paris, the beauty Varenka was in great need of money, since her salon no longer gave her the income necessary for a luxurious life.
Lavretsky assigns her an annual allowance and allows her to settle on his estate, but refuses to live with her. The clever and resourceful Varvara talked to Liza and convinced the devout and meek girl to abandon Fedor. Lisa convinces Lavretsky not to leave her family. He settles the family on his estate, and he himself leaves for Moscow.
Deeply disappointed in her unfulfilled hopes, Lisa breaks off all relations with the secular world and goes to a monastery to find there the meaning of life in suffering and prayers. Lavretsky visits her in the monastery, but the girl does not even look at him. Her feelings were betrayed only by trembling eyelashes.
And Varenka again went to Petersburg, and then to Paris, to continue a cheerful and carefree life there. "The Noble's Nest", a summary of the novel reminds us how much space in a person's soul is occupied by his feelings, especially love.
Eight years later, Lavretsky visits the house where he once met Lisa. Fyodor again plunged into the atmosphere of the past - the same garden outside the window, the same piano in the living room. After returning home, he lived for a long time with sad memories of his failed love.
"The Noble Nest", a summary of the work allowed us to touch some of the peculiarities of the lifestyle and customs of the Russian nobility of the 19th century.